Congratulations to our new 2016 Workspace Artists-in-Residence Nobutaka Aozaki, Cui Fei, W. Case Jernigan, Christine Wong Yap, and Xinran Yuan!
Each year, up to five New York-based emerging artists are offered space, time and support to explore the production and exhibition of artists’ books and related work in year-long residencies. The purpose of the Workspace Artists-in-Residence program is to promote experimentation in making book art – thus artists from all disciplinary backgrounds are encouraged to apply.
“My work is collective, participatory, and performative by using my everyday interactions with other people, mostly strangers, as a source of artistic inspiration. I collect or produce traces of interactions with people as evidences of encounters and create collective mixed media works that show multiple perspectives or interpretations of different individuals. I explore the subjective approaches of individuals and how they can be collectively constructed by my chance encounters. I am interested in the medium of book because book is a collective form, composed of accumulations of individual pages, and is participatory and performative, physically experienced through reading and turning pages. It is also a great medium to share ideas with wide range of public with its accessibility and distributability.”
“In my Tracing the Origin series, I use found natural objects, such as tendrils and branches as the ‘origin’, and use different art-making process to transform the object into 2 or 3 dimensional works. My intent is to emphasize how important nature is to our cultures and lives. Related to this idea, I’ve experimented with drawing, sand drawings, photographs, photograms, printmaking and bronze casting. I see book art as a next step in the development of this line of exploration. I’ve just finished a fellowship at the Robert Blackburn Printmaking Workshop, where I was making prints with different techniques. I had the idea to combine printed pages into a book, not so much of a conventional form, but one that is multi-planar. I am very interested in the possibility of working with movable type, making indecipherable texts akin to my work with twigs. “
“Childhood entertainment is rearing its head in my memory. Twenty five odd years later, adventure books like Trouble for Trumpets, Where the Wild Things Are, the sounds of Super Mario, and the silliness of the film The Goonies are all creeping into my imagery. My brother and I carved pathways and routes through the dunes and rocks around my house in South Carolina. We made games through the mazes and plotted the shortest route, the one with the most adventure, and of course the one to be feared. These pathways, challenges, and games occupy my thoughts. Animation allows for this sequential nature of thinking. Idea, craft, move forward. String them together to try and find cohesion.”
“I am a project-based artist working in installations, sculptures, drawings, multiples, and—increasingly—participatory projects. My work shares the aim of sparking and sustaining attention to emotional experiences. Much of my past work has investigated optimism, happiness, and positive psychology, a research-based field studying human flourishing. I’ve used everyday materials—gel pens and linen—to lend accessibility and abundance to elusive sentiments. For example, I have drawn diagrams to illustrate psychologists’ theories of subjective wellbeing, and signal flags to represent 24 character strengths.
“Increasingly, I create projects that invite interaction to cultivate agency, mutualism, and generosity. For example, I’ve organized artist-created activity sheets, and created a publication and exhibition on collaboration. With these projects, my practice becomes more dematerialized and idea-driven (creating surveys and conducting interviews), though I make objects and environments for interaction (designing a zine, then building furniture to read the ‘zine). ”
“The ocean, both a space with potent phenomenological qualities and a site of poignant ecological and socio-economic tension, is at the core of my artistic inquiry. This interest originated from my childhood experience of living on coastal construction sites in China, where my father designed commercial ports that eventually transformed small fishing villages into megacities. The order of objects and activities as seen on the shoreline later formed the ‘grammar’ of my work across poetry and sculpture, which I now develop simultaneously and equally as pairs and multitudes.
“From 2012 to 2014, I worked closely with fishermen in northern Iceland and generated a body of drawings, sculptures, photographs, videos, and poems. I highlight the traces that our economic and recreational activities leave on the ocean by anchoring on questions about seeing, in other words, our (in)ability to see: from ‘what does herring look like when it’s in the ocean?’ to ‘how do we see the scope of a shared eco-system?’ By insisting on sculpture and poetry as practices of openness, I embrace making as a mechanism of negotiating and negating the singularity of meaning.”